Hello everyone! I had just went through my music files from all the years I've been playing. I have found some notes that my teacher gave me from when he studied with CC and became a disciple.

1.) Always make sure that you set up for the note, not the volume. Volume is the product of an increase in air intensity. Think of the physical act for greater understanding.
2.) Mistakes don't mean anything!
3.) There is a definite need to develop physical stability in the musciles first before introducing running studies to the player. The interval studies along with nose breathing helps solidify muscular balance.
4.) Muscles learn by relating
5.) Gliss Pedal: The purpose of the gliss pedal is to get the mouthpiece away from the lips. This will subsequently aid flexibility, range, remove hand twist, etc.
6.) Muscular Stiffness: Any part of the body that has to change its muscular balance for some reason, will experience stiffness. EX. Walking on a golf course barefoooted
7.) Balance: This is achieved when the muscles find their set. Muscular tension is somewhat removed.
8.) Imbalance: When muscles are in imbalance you experience a freeze, sticking, fatigue, stiffness, etc.
9.) Breathing is 98% correct, it's the 2% of the other things that get in the way.
10.) Muscles work through exposure and repetition. This is the decipline we teach.
11.) Exercises condition the body to play. The instrument is just an extention of the body. (muscular activity)
12.) Lips: lips act as resistors to the blow.
13.) Approx. 200 muscles to play a note. 90 respiratory, 50 facial, 60 arms. 200 muscular movements to be coordinated.
14.) Muscles shake while trying to find their balance. EX. A child learning how to ride a bicycle.
15.) Feel is the result of doing. Don't worry about sound or pitch.
16.) Pressure is a natural thing. Through relations, pressure is gradually removed. Takes time.
17.) We want to establish a sensitivity, feel, and taste in the body. So that the body is ready to accept the blow and any demands.(Muscular)
18.) It's not like teachers say, "Hear the note before you play, but its "To know physically what you have to do before you hit the note".
19.) Performing exercises, like calisthenics, take time and work.
20.) As you go higher you will experience more resistance and need more compression.
21.) Showing the body the importance of timing:
1. thought
2. toes
3. foot
your foot becomes the same unit in which all the muscles have a stronger medium of exchange. A physical metrenome.
22.) The lips vibrate in and out. A flapping
23.) There is only an apeture when playing. Lips touch to make sound.
24.) Back up pressure is the result os resistance.
25.) High notes are not made by blowing but by lip tension.
26.) Stiffness is a temporary thing.
27.) When doing these exercises there is no need to look for improvement, just do them. EX. There is no right or wrong way to jump through tires being a football player. The improvement will come, DEFINITELY, UNQUESTIONABLY.
28.) The conditioned feflex is the result of a balance state.
29.) Motor Activity: The exposure of the muscles to motion.
30.) E is an elusive note. A is an elusive note. B to C above the staff is another balance area.
31.) Balance: Balance is the muscular fitting that goes into a well set emboucher. When the muscles are in balance then there is power, endurance, flexibility, etc.
32.) Stiffness: Causes the bodies of the brass players to release lactic acid between the muscles as a natural protective device.
33.) Throaty, Windy Sound: This is the result of the chops being apart.
34.) Pressure: Pressure is caused by muscles still imbalanced. It causes freezing. However, pressure eventually equalizes throughout the registers in time.
35.) The squeling that often occurs in the upper registers are the result of muscular exaggerations. As the muscular movements become more refined, the squeals will subside.
36.) The six notes get the muscles to set up. This exercise is like a ruler. A quick way of relating.
37.) Ques.? What causes the fuzzy or gurgling sound in the tone?
Ans. - The buzz of fuzz is caused by a hand twist which pinches one lip and pulls the other causing the gurgling sound.
38.) Ques. What causes the double-octave sounding simultaneously?
Ans. - The lips are apart and twisted.
39.) Timing is important in synchronizing muscular motion.
40.) When doing the Clark Exercises, try to maintain an even pressure. Sounding the octave above a given note can allow you to physically feel the pressure exchange. Eventually we will acheive even pressure throughout the horn. (Range) 6 lbs.
41.) Till the sound or demand happens, these exercises are just something to do. There is no good or bad to jumping through tires.
42.) Practice is not performance. It, therefore, is not to be sublected to the critical analysis as a performance is given.
43.) Connection is what brings about flexibility. When doing scale(running exercises) continue moving through them even when notes do not sound. Exposure and repetition to time is what will inevitably bring about the sound. Play through for a working connection to develop. Where the notes do not sound there is still a slight imbalance.
44.) When practicing, you can't think muscles, YOU MUST DO!!!! The body needs constant exposure, repetition, etc. to a given physical demand.
45.) Vibrato or not to vibrato, that is the question?
ans. do not use vibrato on these exercises, it tends to cover physical sensitivity.

I have 5 more pages of my teachers notes he took while taking lessons and sitting in with Carmine with other students. I will post them at a later time. Has anyone heard of one of CC students and my teacher Bob Labak.

Tom

Last edited by Tgreenrun on Sun Apr 03, 2005 5:07 pm; edited 1 time in total

I took a few lessons from Carmine back in the early '70's. Only was doing 6-notes, 2nds, 3rds and harmonics. It was great to get these notes.

Haven't played seriously for quite a while. Just started playing lead in a big band. Doing fair with endurance and range up to about an E or maybe a F. Trying to do 6-notes, 2nds and 3rds alternately, and harmonics daily. Will add 4ths to the mix next week, etc. Also doing exercises out of the Chas Colin Advanced Lip Flex. book. Does this sound like a good approach? Trying to build my endurance up and need to get my G back asap.

Any other recommendations for range development to supplement Caruso._________________Ken

[I have 5 more pages of my teachers notes he took while taking lessons and sitting in with Carmine with other students. I will post them at a later time.]

Your first list was GREAT!!! Thank you!!!!!!!

Would it be possible for you to either post these additional pages or e-mail them to me?

I studied with Carmine for MANY years and rarely wrote notes. I do have all my handwritten "assignments." I also know a LOT about his approach and could probably also help you in any way, if you'd like.

[I have 5 more pages of my teachers notes he took while taking lessons and sitting in with Carmine with other students. I will post them at a later time.]

Your first list was GREAT!!! Thank you!!!!!!!

Would it be possible for you to either post these additional pages or e-mail them to me?

I studied with Carmine for MANY years and rarely wrote notes. I do have all my handwritten "assignments." I also know a LOT about his approach and could probably also help you in any way, if you'd like.